An illustrated femdom novel by Bill Ward. Seller Inventory pol More information about this seller Contact this seller 4. Published by Dantzig [Maurice Duflou] About this Item: Dantzig [Maurice Duflou], Condition: Assez bon.
Son nom serait Dumoulin. More information about this seller Contact this seller 5. Condition: Satisfaisant. Etat correct. Seller Inventory sm More information about this seller Contact this seller 6. Published by Aux Galants Passe-temps About this Item: Aux Galants Passe-temps, Couverture rigide.
More information about this seller Contact this seller 7. About this Item: Couverture souple. Jeu complet de 8 cartes dont une carte de titre d'une BD sadomasochiste d'Eneg. Format 11 x 16 cm.
Une petite rousseur sur la carte de titre. More information about this seller Contact this seller 8. More information about this seller Contact this seller 9. Published by Editions Albin Michel sans date About this Item: Editions Albin Michel sans date, Editions Albin Michel sans date. Seller Inventory GNB More information about this seller Contact this seller Inconnu de Perceau, Pia et de Dutel.
Infimes rousseurs. Published by Paris, Dentu About this Item: Paris, Dentu, Dos fendu et nombreuses rousseurs. Nous n'avons que peu de renseignements sur sa famille aux Antilles. Seller Inventory vilpris Couverture originale avec une illustration en noir par Carlo.
Published by Halis, Formis expressum Ploetzianis About this Item: Halis, Formis expressum Ploetzianis, Published by La Chronique des dames contemporaines About this Item: La Chronique des dames contemporaines, Il tait son nom d auteur dans sa bibliographie des Livres de l Enfer. Pia, Dutel c. Condition: Very good- condition. First Edition. Hardcover binding [not publisher's] with original front wrapper illustrated bound-in.
No date of publication; circa Text in French. Pages slightly and evenly browned. At the other end of the spectrum was La Parisienne, the darling of the advertising world and an emblem of the French fashion industry. What these two versions of womanhood had in common was a propensity to act on her sexual desires. Whether depicted as a New Woman or a Parisienne, the modern woman of the French novel and play was at the very least flirtatious, and she was at times licentious, or even adulterous.
All s ballet heroines were flirts, and at first glance, music-hall ballets seemed to condone their flirtations. Heroines young and old, married or single flirted freely and often with whomever they liked for the sheer pleasure of flirting. Merveilleuses et gigolettes FB, best encapsulates this trend, depicting a series of flirtations between members of Napoleon's entourage in the first tableau and between nineteenth-century military figures and infamous courtesans in the second.
The ballet ends with an apotheosis montage that depicted La Parisienne , the eternal flirt and enchantress, presiding over all. Madame Bonaparte FB, at first appears to repeat this trope. Madame Napoleon flirts at a ball while the Emperor is off at war, and Napoleon later flirts with the invited ballerina at a second ball.
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Although both husband and wife escape censure, the ballet might, however, have carried a warning to flirtatious women: the work ends with a fortune teller showing Mme Bonaparte an image of Napoleon with a different woman bending over a cradle. No explicit connection is made between Madame's flirtations and Napoleon's leaving her for another woman, but the audience could presumably have filled in the gaps with their knowledge of history. One ballet openly sanctioned a married woman's flirtations.
When they realise that they have been discovered by her husband, the Officer tries to hide, first in a gardener's basket, then in an empty bear cave. Meanwhile, some nannies, walking through the park with their charges, come upon a group of soldiers, and in a moment of distraction, leave their babies in the gardener's basket while they flirt too. The husband, having missed this last scene, throws the basket into the bear's den thinking the Officer is still hiding in it.
The Officer emerges from the den pretending to be a bear and holding the babies, and the husband runs off, deceived by the officer and fearing the law. The nannies encircle the two lovers for an apotheosis tableau of reckless love triumphing over decorum. Yet none of these flirtatious women suffered any repercussions for their romances. If anything, these depictions of coquetry seemed likely to encourage women to enjoy their sexual freedom. Ballets that depicted extramarital affairs were equally light hearted, and they again conveyed ambivalent messages about sexual freedom for women.
At stake was the issue of female fidelity. But most of the ballet is about the King's wife, Hersilia, who has fallen in love with a Roman warrior, Fabius. When Hersilia is abducted along with her fellow Sabine women during Roman military festivities, she miraculously falls into the arms of her Roman lover, and the curtain drops on a maudlin tableau of clandestine lovers fortuitously united, her husband apparently forgotten.
Madame Malbrouck C, , set in the eighteenth century, also presented a woman who leaves her husband for her lover, this time of her own volition. Madame Malbrouck's husband has been away at war for seven years, and she has been having an affair with a knight. When her husband suddenly returns, he finds them together and tries to trick her by faking his own death.
His ruse backfires, and she prepares to marry the knight. Monsieur Malbrouck shows up at her wedding, but he is so ravaged by war that his wife does not recognise him. Realizing that he can no longer inspire love, Monsieur Malbrouck leaves the new couple and returns to war. Were authors ready to promote sexual freedom for women? As already mentioned, women had had access to divorce for several years, and they had recently witnessed an exponential increase in the number and availability of books that promoted women's enjoyment of marital sex.
A common thread running through all of these ballets is the need for some kind of distancing mechanism when presenting sexually liberated heroines. All were also set in the past, adding chronological distance to the mix.
Music-hall authors could depict strong-willed, sexually aware heroines, but only if they ensured that these women would not be taken too seriously. It is also possible that authors actually intended to show how dangerous women's affairs could be for society. Women who strayed were threatening: they could bring down the institution of marriage, the foundation of Republican society. Music-hall ballets that depict male dalliances provide instructive comparisons. In ballets about men who strayed, unfaithful husbands always found their way back to the nest.
When women dallied, on the other hand, marriages fell apart.
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The audience is therefore left with a conundrum: although the ballets might have been meant to warn of the dangers of unfaithful wives, they nevertheless depicted women enjoying sexual freedom. And while all of these ballets were safely set in the distant past and most included elements of slapstick, stories about women who remarried carried a message of potential freedom to their female viewers.
After all, these women were not punished: they got their prize, and they had a lot of fun while in pursuit. Sports FB, , by P. In the s, newspapers turned from reviewing multiple theatrical productions every day to reporting on athletic matches and competitions. Although sporting was still dominated by men and boys, girls now had access to a limited range of sports in school, and they were encouraged to take up more active lifestyles at home. Sports is divided into two tableaux, a first made up almost entirely of pantomime, and a second of a long divertissement with women performing each new sport in sequence.
The curtain rises on a bedroom scene in which all have gathered after Mlle Moderne's marriage to D'Anletrin. Madame Vieujeu, the mother of Mlle Moderne, asks her son-in-law to be gentle with her innocent daughter, whom she draws aside while the bridesmaids giggle knowingly in the corner. When the new couple is left alone, D'Anletrin appears wearing a revealing pyjama meant to catch Mlle Moderne's attention.
She sees him, but is not moved. D'Anletrin gives her a kiss, then another, and another, ever more passionately. D'Anletrin gives up and tries to engage her in conversation, telling her that he married her for this, for children, for love; she, surprised, tells him that she wants only friendship, that love does not exist. At this point, a painting of Cupid that hangs on the wall comes to life and tries to help out. When asked what she likes, the stage darkens and the god of Sport appears in Cupid's former frame. Cupid sighs in defeat. The god of Sport is more powerful than he is: Sport's disciples are beautiful and eternally strong, the god of Love's are withered and emptied with age.
Cupid's only advice to D'Anletrin is to join him, to console himself by watching the little women petites femmes in Sport's kingdom. The ballet's second tableau, the divertissement, includes ten sports, a final triumphant march of sports, and an apotheosis. After a brief procession of Sport's subjects, eight female rowers emerge and simulate the dangers of a rowing race.
Polo is next, with four players on horseback fighting over the ball. Three pairs of women then play tennis, fight with canes, and box. This is followed by a man in travesty and woman who skate, tracing figures on imaginary ice. Next, eight women pass a football and perform a routine that mimics the game. Two presumably female knights perform a fencing duel, and two women enter on bicycles, executing turns and figures.
Since Flers was known for his parodies, Sports was most likely expected by audiences to be in a similar vein, even before they saw the ballet.